Electronic Music Laboratories, INC, was based in Vernon CT from 1968 through 1984. The company’s founders included Dale Blake, Norman Millard, Dennis Daugherty, Fred Locke, and Jeff Murray. Apparently EML synths used op-amps rather than transistors in certain circuits, which improved reliability relative to Moog and ARP designs of the period. Above, the EML 101. Below, the EML model 500. Anyone using one of these in their work? Drop a line and let us know…
7 replies on “Electronic Music Labs, INC, of Vernon CT”
Jonn Serrie was EML’s “synthesist in residence” for a while. He’s now a prominent “New Age” composer/performer and has recorded a number of planetarium soundtracks. One of EML’s design engineers, Jeff Bachiochi, is at Circuit Cellar Ink magazine, where he is one of the most popular contributors.
After recieving and loving the Korg littleBits set for Christmas, I was hunting around on the web trying to figure out what the old synthesizer I learned on was. It was in Rockville High School (Vernon, CT), the year was 1982/83, and our band director, Mr. Darcy Davis, was teaching an Electronic Music class. He had two synths and a cheap Casio keyboard, along with 2 reel-to-reel tape recorders which we learned splicing on. After a little web research I’m now convinced the two analog synths were EML units. One was a blue box with no keys and a ton of fat patch cords. (Couple of oscillators, I think a ring modulator, noise generator, filters, envelope, amplifier, etc.) The other was similar, but had a small keyboard, a stainless steel panel, and didn’t need cords that I remember. We’d have assignments like “make a vacuum cleaner noise”, and I learned SO MUCH in that class. I went on to become a software engineer specializing in baseband frequency source instruments for testers at Teradyne and doing text-to-speech synthesis research at Dragon Systems. I also still play keys. I have to say the two courses I use most in my career from my days at RHS were Trigonometry and Electronic Music, which was made possible by the wonderful EML instruments.
I’d love to know more about the history of the company – where in Vernon were they located? What became of the founders? Did they donate or sell to the local high school? I am blown away to discover all these years later that history was made right in my own hometown of Vernon.
Pere Ubu’s Allen Ravenstine used the 101 and the 500, if I’m not mistaken
In 1976 I purchased an EML 101 with a custom wheel and
reverb. I used it to create and orchestrate music for theatre,
puppet shows, & film, in Calgary Alberta, where quite a few of these were sold. In the 1970s, U of C ‘s music dept.’, s Electronic music studio , where we had been using the large moog model 15 units as well, recommended these at that time.
I found my EML101 to have a more austere sound than the warmth of mini moog model d I had been also been using
at the local planetarium.
The EML 101 is in my opinion, a vastly under appreciated instrument, likely because so few
were made that they largely went unnoticed.
The sound is rich, sonorous and full. It bristles with
presence. The modulation possibilities offered by
this instrument are really outstanding. It has it’s own
clearly defined voice. Elegant, assertive, exciting , possibly
aggressive ; it can go over the edge if asked; but also can demonstrate a lyrical softer side. This synthesizer
was as good as anything out there, and still is.
It would be a beautiful thing for synthesizer players,
if by some miracle the EML company
could come back and reissue their fine instruments.
I still use my EML 101 in conjunction with many other
flagship synthesizers that I have in my studio.
I bought the very first EML 100 that came into Philadelphia in 1972 , serial number 0162. I had been in communication with the company for a few months and they contacted me when their sales rep ( who wasn’t really affiliated with the company itself) was going to be in the area. We met at a local music store that generally sold & rented marching band instruments to local schools.The rep couldn’t even get a sound out of the synth and the manual hadn’t been printed yet.. We just sat there and stared at the 100. He was leaving town the next day headed to D.C. & taking the synth with him. I decided to buy it on the spot since I didn’t know when I’d get a chance to get my hands on one again. I took the EML home and spent the next few weeks teaching myself how to program this incredible instrument. I was playing with a local cover band at the time and soon incorporated the synth into our sets even doing a Solo synth/ Hammond intro to A Salty Dog by Procol Harem complete with wind/ surf& seagulls… loved the patching capabilities. I did make a couple of trips to the factory in Vernon CT. for repairs and custom mods. Sadly the 100 was destroyed in a fire after I moved to LA. I did get a chance to use an EML 101 and I found it to have a slight harsher tone than my old 100.
Philly, wow
My 200/300 HS dumpster find was from a tip from a younger friend:
I used the 200 in school in ’72 Blue finish, of course,
Jeff
I am the happy owner of an Electrocomp 500, purchased in the 80’s at a local flea market very cheaply here in south Jersey. I am mostly a drummer but have become quite expert at creating flowing soundscapes from dripping water to realistic helicopter landing without any overdubs in a live setting. The only modification I made was replacing the speed pot (rate ) with a 10 turn pot. I like the fact that I can still get the 741 opamp that is used. I was surprised to learn only 300 were made in the 10 year production. For me, the oscillators and controls are grouped in a logical way. I will continue to entertain myself with this board into my old age!